info:eu-repo/semantics/OpenAccess
Laurence Héricault Mullaly, « The authorship of the body in Lucrecia Martel's films », HAL-SHS : histoire de l'art, ID : 10670/1.0pqf1x
Lucrecia Martel's filmography is exemplary of the subjective turn that occurred in the Argentine film industry from the second half of the 1990s. Her first feature film, TheSwamp (2000) puts into question the model of institutional representation (Mri, Noël Burch) and breaks with several narrative and aesthetic canons to open up the spectators' horizon, because this film demands the participation of all the senses. Lucrecia Martel's work aims to widen our perception fixed in the consensual mimetic illusion of hegemonic cinema. The filmmaker gives a place to the subaltern bodies and a speech that go beyond the visual. This paper aims to study the modalities of this new configuration of the subjectivity that gives the other, the subaltern, an authorial identity.